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  • Some Came Running

    Some Came Running


    I have a headache from sobbing so much. I had "seen" this film, but it became quite clear to me tonight that I hadn't seen it. Shirley MacLaine's scenes were nothing less than cathartic. Honestly—can't recall the last time a movie has made me break down that much (a reaction I totally didn't have the first two times I saw this! the power of a big screen, an audience, and anonymity)—I can recall real-life events, of course.

  • High Life

    High Life


    Something tells me this wasn't the right place to start with Claire Denis.

  • Once Upon a Time in Hollywood

    Once Upon a Time in Hollywood


    A fairy tale, but for whom?

  • Lust for Life

    Lust for Life


    Exciting news, NYC friends: I'll be introducing Lust for Life at the Metrograph this Sunday afternoon, Aug. 18, at 4.15pm! Come one, come all, for this writhing masterpiece. Tickets here. Their Minnelli-in-'Scope festival kicks off on Friday with Some Came Running and Gigi, with screenings of Tea and Sympathy, Bells are Ringing, and Two Weeks in Another Town all throughout the week-end; I'll be around for most all of these.

    And ICYMI: here's my video essay on Vincente Minnelli's reds for Metrograph: Warning: spoilers for Some Came Running.

  • The Loneliness of the Long Distance Runner

    The Loneliness of the Long Distance Runner


    A manicured, leg-jittering bore—which is about as much as you can expect from a Tony Richardson picture. Not rude enough like his beloved Vigo, it goes for an embarrassing faux-zaniness at times that should only be the domain of Richard Lester (John Addison's score is also to blame for this), static like Truffaut would never allow. There's one shot (only the sound of prisoners singing "Jerusalem") when the long distance runner is hurled into a prison cell and the camera, for three seconds, is active, alive. Otherwise lots of sound and fury, etc.

  • Gigi



    My video essay on Vincente Minnelli's use of the color red now has a home over at the Metrograph's online magazine! Check it out here: It's in advance of Metrograph's upcoming retrospective of Minnelli widescreen films, opening August 16 with Some Came Running (1958). HUGE spoilers for this latter film; don't watch it if you plan on watching Some Came Running at some point (which you should).

  • Floating Weeds

    Floating Weeds


    My Rebel Without a Cause.

  • Once Upon a Time in Hollywood

    Once Upon a Time in Hollywood


    Damn squirrelly films, you hate to see em

  • Old Boyfriends

    Old Boyfriends


    Deeply unsettling and unstable and oh-so-ecstatically true to life. Sifting through painful love memories becomes a whirlwind through a serial-killer thriller, a revenge-comedy, a Best Years of Our Lives melodrama. High peaks for all involved, especially the Shires, Belushi, and Buck Henry.

  • La ricotta

    La ricotta


    Pier Paolo Pasolini's bizarre, impish, highly original allegorical reinterpretation of the Passion that's as sacrilegious (in a pre-modern sense) as The Gospel According to Matthew is miraculous (in a modern sense). Orson Welles is a harangued director who's disillusioned with his own modern film of the Passion (in garish, frozen color), reads poetry by Pasolini, chides Marxists for not seriously contemplating questions of death, and eventually turns his director's chair away from his own set to direct the trees and…

  • The World's Most Beautiful Swindlers

    The World's Most Beautiful Swindlers


    Godard segment only, with Jean Seberg and Charles Denner, photography by Raoul Coutard, music by Michel Legrand.

  • A Woman's Testament

    A Woman's Testament


    An unusually consistently solid omnibus film. Each of the three collected shorts paints three equally compelling portraits of complicated women who have to navigate the tricky terrain of love and money in postwar Japan. Probably my favorite is Kon Ichikawa's (the second story) about a ghostly lady who seduces a popular, suicidal writer into buying her worthless house; it's playful and perverse (a quality that's specifically acknowledged in the dialogue by Ichikawa regular Fujiko Yamamoto), with some truly ingenious 'Scope…